In agonizing what truly links Brasilian music so inextricably to jazz, all the more it is possible to come to the conclusion it is the blues. Brasilian musicians have the blues. It is their own version of the blues. It is at the heart of most modern Brasilian music today and it is called choro. Just as the blues comes from that soulful cry that emanates deep within the broken heart; just as this cry escapes the lips and edifies the soul, so also is chorinho the elemental “little” cry that which escapes the soul and through the lips salty to the taste of the proverbial tears that are shed musically. The heat of the lyrics when they are sung is blue-hot and inescapable; words lines and emotions are daubed from a palette that is indigo in its orientation and probably most important of all, the cry is liberating: “Come back, Baby, come back to me and I will make it up to you tonight,” it seems to “say,” whether in English or in Portuguese. Thus it is liberating from sorrow and grief; or simply being low down. In the blues the ecstasy at the end of the chorus is enough to show it is uplifting. In chorinho, the pace at which the cry plays out leads to resolution of conflict. At any rate, it is all blues. This is what informs the ingenious and the beautiful album by the composer and pianist Antonio Adolfo Rio, Choro, Jazz.
The album sets out to pay tribute to one of Brasil’s legendary Choro composers, Ernesto Júlio de Nazareth (1883 – 1934). Mr. De Nazareth was composer and pianist, especially noted for his creative Maxixe and Choro compositions. Influenced by African rhythms and many musical styles like the Lundu and the Choro. The composer never fully accepted this influence, refusing to give popular names to his compositions. A musician of classical training, he classified his music as “Brazilian tangos”, since the Argentine tango and polka dances were considered fashionable at the time. His piano repertoire is now part of the teaching programs of both classical and popular styles, as Mr. De Nazareth once served at the boundary between these two worlds. His music was always beautiful and complex as it reflected all of these influences and this is exquisitely brought to pass in Antonio Adolfo’s gentle and sophisticated manner. Customarily, but in an ingenious manner, Mr. Adolfo has composed a piece that sits at the head of the recording. “Rio, Choro, Jazz” is as much a tribute to Ernesto De Nazareth as it is to the complex musical DNA that links the musics and the composers who wrote them with the legendary music of jazz and its composers. In doing so Mr. Adolfo also does another remarkable thing to Mr. De Nazareth’s music: He recasts it into the new century.
“Feitiço” is only the beginning. Its bewitching melody captures the essence of the musicality of Mr. De Nazareth. The composer’s musical intellect shines in the ensemble that successfully brings light to it. The rich integration of the African into the European influences is enthralling. This collision of cultures brings about a breakthrough: that of the shifting rhythms of the Choro. The “jump” in the music is delightful as well as the manner in which it swings into a pirouetting and skipping dance not so far removed from the composer’s beloved tango. Another beautiful composition is the heartbreaking piece “Coraçao Que Sente,” which literally twists the proverbial pain out of the heart and from the depths of the soul. This qualifies it to be one of the most powerful Choros of Ernesto Júlio de Nazareth. The great composer wrote over 200 pieces and one of the most eminent is the one that closes out this exquisite album: “Odeon,” the charm of it has made it one of the most celebrated of all of Mr. De Nazareth’s work. In all of these and other pieces—including the polka-inflected piece “Nao Caio Noutra” it is difficult not to admire the musicianship and pianism of Antonio Adolfo, who commandeers every aspect of his total musicality to craft these pieces. And then there is also the technical and melodic beauty of the other musicians, especially the painterly percussion work of Rafael Barata and Marcos Suzano, who bring the secret rhythms and colours to life on an album that is so exquisite it draws tears of joy.
Track List: Rio Choro Jazz; Feitiço (Enchantment); Brejeiro (Bucolic); Fon-Fon; Tenebroso (Tenebrous); Nao Caio Noutra (Better Next Time); Coraçao Que Sente (Sensitive Heart); Cuera (Valiant); Nene (Baby); Odeon.
Personnel: Antonio Adolfo: piano; Claudio Spiewak: guitars; Jorge Helder: double bass; Marcelo Martins: flute and soprano saxophone; Rafael Barata: drums, percussion; Marcos Suzano: percussion.
Label: AAM music | Release date: March 2014
Website: antonioadolfomusic.com | Buy music on: amazon
Antonio Adolfo grew up in a musical family in Rio de Janeiro (his mother was a violinist in the Brazilian Symphony Orchestra), and began his studies at the age of seven. At seventeen he was already a professional musician. His teachers include Eumir Deodato and the great Nadia Boulanger in Paris. During the 60’s he led his own trio and toured with singers Elis Regina and Milton Nascimento. Adolfo wrote tunes that gained great success and have been recorded by such artists as Sérgio Mendes, Stevie Wonder, Herb Alpert, Earl Klugh, Dionne Warwick, and others. He won International Song Contests on two occasions. As a musician and arranger he has worked with some of the most representative Brazilian names, besides having released more than 25 albums under his name. In 1985 Mr. Adolfo created his own school in Rio, Brazil.
His CD with Carol Saboya, Lá e Cá/ Here and There, follows in the footsteps of the 2007 live recording Antonio Adolfo e Carol Saboya Ao Vivo/ Live. Among his most recent studio recordings are Chora Baião (released in 2011) and Finas Misturas (released in 2013). Antonio Adolfo is currently conducting a music school in Hollywood, FL (USA) where, along with other instructors, he teaches Brazilian Music, Jazz, and Pop.
(Source: antonioadolfo.com)
For Claudia Acuña, home has never been a fixed destination. It is something carried—in the body, in memory, in language, and in sound.
On Ave de Luz, the Chilean vocalist brings those fragments together with unusual clarity. After three decades in New York, Acuña no longer treats her roots as something to weave quietly into jazz. She places them at the center. Her striking declaration—“I’m coming in with my crown, my poncho, my everything”—captures the album’s spirit perfectly.
Raised in Concepción during Chile’s dictatorship years and later transformed by New York’s jazz scene, Acuña has spent much of her career moving between worlds. Ave de Luz feels like the moment when those worlds stop competing with one another.
Acuña has resisted the idea that “Latin jazz” can be reduced to a single vocabulary. Afro-Cuban and Brazilian traditions may dominate the popular understanding of the term, but Latin America contains countless rhythmic, folkloric and indigenous languages.
Her own metaphor is simple: noodles and spaghetti may look related, but they are not the same thing.
That idea shapes Ave de Luz. The album is not merely jazz with Chilean colour added to it. It is music whose identity emerges from cueca, Andean traditions, indigenous sonorities, poetry, migration and improvisation.
The trutruka, charango, zampoña, tormento and Chilean pandero become part of the album’s grammar. They interact with Manu Koch’s piano and keyboards, Carlos Henderson’s bass and Yayo Serka’s drums and percussion without sounding ornamental or exoticized.
“Chinga La Ka Chinga” captures one of the album’s most expansive ideas. Festive on the surface, the piece also acknowledges Afro-Chilean and northern Chilean currents, suggesting how celebration can carry history, resistance and cultural memory within its pulse.
Elsewhere, the music turns inward. “Piececitos de Niño,” inspired by Gabriela Mistral, brings poetry and childhood into the album’s emotional landscape, while “Rezo” feels almost elemental: voice, charango, atmosphere and silence shaping a meditation on nature, distance and belonging.
Acuña’s reading of Violeta Parra’s “La Jardinera” is equally significant. Its imagery of planting, tending and healing becomes an apt metaphor for tradition itself. Culture survives not by remaining untouched, but by being replanted. Acuña does precisely that.
“Viento del Sur” also carries special resonance, recalling the title of Acuña’s 2000 debut, Wind from the South. Then, the image suggested a Chilean artist arriving in the international jazz world. Here, the meaning has changed.
The south is no longer where she came from. It is something she continues to carry.
That idea finds its fullest expression in the title track. The “bird of light” becomes an image of migration without erasure—a figure moving forward while remaining connected to its place of origin. The metaphor fits Acuña herself.
Her longtime musical relationship with Koch, Henderson and Serka gives Ave de Luz much of its freedom. Years of trust let the ensemble move naturally between folk memory, jazz improvisation and contemporary textures without forcing boundaries between them.
Ave de Luz may be Claudia Acuña’s most complete artistic statement because it no longer asks her identities to compromise.
The crown is experience.
The poncho is memory.
Jazz is the road between them.
And Claudia Acuña travels that road carrying Chile fully into the light.
Produced by Claudia Acuña and Andrés Pollak. Most of the sessions were recorded at East Side Sound in New York in November 2025, with “Ave de Luz” recorded at TOC Música in Santiago in October 2025 and additional recording completed at Banduria Studio in Santiago. Andrés Pollak handled engineering on the principal New York sessions; Rafael Chaparro engineered the Santiago title-track session with Javier Lizana assisting. Marc Urselli mixed and mastered the project.
With La Malinche, Eva Cortés delivers one of the most ambitious recordings of her career—a project in which history, identity, migration and music converge around one of the most contested figures in the Americas.
Malintzin, also known as Doña Marina or La Malinche, has long been portrayed through conflicting narratives: interpreter, intermediary, mother of mestizaje, victim, survivor and, in later nationalist mythology, traitor. Cortés does not try to settle that debate. Instead, she uses Malintzin as a symbol of cultural transition, displacement and survival.
That choice makes particular sense for an artist whose own life has unfolded across borders. Born in Honduras (Central America), shaped culturally in Seville (Spain) and later immersed in New York’s jazz community, Cortés has always made music from the space between traditions. On La Malinche, that in-between space becomes the heart of the album.
The album brings together flamenco, Latin jazz, contemporary jazz and Indigenous-inspired imagery without turning the result into a forced fusion.
Rather than attempting to recreate pre-Columbian Mexican music literally, Cortés evokes Indigenous memory through percussion, communal voices, repetition and themes of ancestry, earth and maize. Flamenco enters through Spanish guitar, vocal inflection and the expressive grit associated with cante. Jazz supplies the harmonic freedom and improvisational space that allow those elements to interact.
The musicians surrounding Cortés are crucial to that balance. Pianists Pepe Rivero, Jon Cowherd and Zaccai Curtis, bassists Christian McBride, Luques Curtis and Reinier Elizarde “Negrón,” and drummers Antonio Sánchez, Adam Cruz and Georvis Pico give the album both rhythmic strength and harmonic flexibility. Roman Filiú, Paco Heredia, Marvin Sewell, Bandolero and others expand the palette further. The result is music that never feels boxed into one category.
Cortés’ singing remains the album’s most powerful instrument. Her phrasing can be loose and conversational, then suddenly sharpen into something more urgent and flamenco-inflected. She moves between reflection, mourning, protest and defiance without sacrificing musical control.
Most importantly, she refuses to define Malintzin through betrayal. Her interpretation focuses instead on endurance and complexity.
The opening “Abuelita Malinche” immediately makes that clear. By calling her “Abuelita,” Cortés transforms Malinche from a figure of accusation into an ancestral presence. The arrangement blends Latin-jazz movement with flamenco coloration, while her wordless vocal passages move naturally between scat and cante.
“Hij@s del Maíz” extends that idea of cultural mixture. Paco Heredia’s guitar, Pepe Rivero’s piano, Antonio Sánchez’s drums and the accordion create a sound that travels across regions rather than belonging to one. Maize becomes a symbol of Indigenous continuity, while the music reflects the constantly changing character of mestizaje itself.
The album becomes even more powerful when it connects the past to contemporary realities.
“Letters to Heaven” and “Remember Me” introduce themes of Indigenous loss and the disappearance of women from both historical memory and present-day communities. “Sur Global” shifts toward resistance, combining rhythmic drive with a broader reflection on colonialism, migration and inequality.
Then “Spanish Harlem” brings the journey firmly into the present. Horns, flute, tumbao and call-and-response place Cortés within New York’s Latin-jazz tradition, completing a musical path that stretches from ancestral memory to the modern city.
La Malinche is more than an album built around a historical figure. It is a meditation on who controls history, who gets remembered and how identity continues to change across generations and borders.
Cortés turns her own musical hybridity into the album’s central idea. Jazz, flamenco and Latin American traditions do not simply coexist here—they help tell the story.
The result is one of her strongest and most focused recordings to date: emotionally direct, musically sophisticated and deeply rooted in the ongoing conversation between memory and transformation. La Malinche is not about recovering a pure past. It is about reclaiming the right to reinterpret it.
The title Abriendo Puertas—“Opening Doors”—captures the spirit of guitarist Roni Ben-Hur’s latest recording with unusual precision. Recorded in Havana with an accomplished group of Cuban musicians, the album is built not around the novelty of a visiting jazz guitarist encountering Cuban music, but around something more meaningful: musicians listening closely enough to find a common language.
Ben-Hur has spent much of his career moving naturally between musical worlds. Born in Israel to a Tunisian family and shaped professionally by New York’s jazz community, his playing draws from bebop, Brazilian music, Mediterranean traditions and Latin rhythms without sounding like a collection of influences. His years with pianist and mentor Barry Harris helped establish the melodic clarity, swing and understated sophistication that remain central to his guitar style. On Abriendo Puertas, those qualities fit remarkably well within a Cuban setting.
The key creative partner is pianist Alejandro Falcón, who contributes four of the seven compositions: the title track, “Gua’ One Blues Pal Bobby,” “Lo que es del César” and “El Teide.” Rather than treating Ben-Hur as a soloist placed in front of a Cuban rhythm section, Falcón helps create an ensemble language in which guitar and piano continuously exchange roles. Their compatibility is evident from the opening title track, where rhythmic momentum and lyrical improvisation develop patiently rather than through display.
“Gua’ One Blues Pal Bobby” pushes the conversation toward the blues while retaining a strong Cuban rhythmic identity. It is one of the album’s most spirited performances, illustrating how readily the vocabulary of jazz can coexist with the rhythmic imagination surrounding Ben-Hur in Havana. By the time the ensemble reaches “Lo que es del César” and “El Teide,” the distinction between guest and host has largely disappeared. What remains is a cohesive band responding to one another in real time.
The album’s romantic center comes through three classic Latin American songs. José Antonio Méndez’s “Mi Mejor Canción” brings the intimacy of the Cuban filin tradition into the program, while Osdalgia Lesmes appears on Isolina Carrillo’s “Dos Gardenias” and Armando Manzanero’s “Esta tarde vi llover.”
Lesmes brings warmth and emotional directness to both performances, and Ben-Hur proves once again what a sensitive accompanist he can be. His guitar surrounds the voice rather than competing with it, reflecting an approach he has developed through years of working with singers, including the late Brazilian vocalist Leny Andrade. Ben-Hur has spoken of the importance of leaving space for vocalists and allowing melody and lyric to remain at the center of an arrangement.
That same sense of space benefits the entire recording. Pedro Pablo Gutiérrez on acoustic bass, Ruy López-Nussa on drums and Octavio Rodríguez Rivera on percussion provide a foundation that is rhythmically rich without becoming overcrowded. Tenor saxophonist Emir Santa Cruz, featured on four tracks, adds another expressive voice and gives several performances a broader jazz-ensemble character.
Recorded at DBega Studios in Havana in November 2025, Abriendo Puertas is part of the Cuban Notes recording series co-produced by Ben-Hur and Dot Time Records founder Johanan “Jo” Bickhardt. Yet the album succeeds beyond the concept behind the series.
Its strength is ultimately found in the musicians themselves. Nobody appears interested in proving how effortlessly jazz and Cuban music can be combined. They simply play together until those distinctions become secondary.
For listeners who appreciate expressive jazz guitar, Cuban music and recordings where collaboration matters more than spectacle, Abriendo Puertas is easy to recommend. Warm, sophisticated and deeply conversational, it finds Roni Ben-Hur opening another musical door—and discovering an ensemble waiting on the other side.
Artist: Roni Ben-Hur
Album: Abriendo Puertas
Label: Dot Time Records
Catalog: DT9192
Genre: Jazz / Latin Jazz
Release Date: June 26, 2026
Recorded: November 2025
Studio: DBega Studios, Havana, Cuba
Format: CD / Digital
Program: 7 tracks, approximately 49 minutes.
The project is part of Cuban Notes, co-produced by Johanan “Jo” Bickhardt and Roni Ben-Hur. It follows Alejandro Falcón’s Falcón in Blue as the second album in the series.
1. Abriendo Puertas – Alejandro Falcón – 8:12
2. Mi Mejor Canción – José Antonio Méndez – 6:32
3. Dos Gardenias – Isolina Carrillo – 5:23
4. Gua’ One Blues Pal Bobby – Alejandro Falcón – 9:23
5. Esta tarde vi llover – Armando Manzanero – 5:56
6. Lo que es del César – Alejandro Falcón – 6:17
7. El Teide – Alejandro Falcón – 7:49
Roni Ben-Hur — guitar
Alejandro Falcón — piano
Pedro Pablo Gutiérrez — acoustic bass
Ruy López-Nussa — drums
Octavio Rodríguez Rivera — percussion
Emir Santa Cruz — tenor saxophone, tracks 1, 4, 5 and 7
Osdalgia Lesmes — vocals, tracks 3 and 5
Executive Producer: Johanan “Jo” Bickhardt
Co-Producer: Roni Ben-Hur
Recorded at: DBega Studios, Havana
Recording date: November 2025
Sound Engineer: Carlos D’Bega
Label: Dot Time Records
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