For three decades, trombonist Conrad Herwig has pursued one of contemporary Latin jazz’s most durable ideas: reimagining the music of major jazz composers through the rhythmic language of the Afro-Caribbean tradition. With The Latin Side of Chick Corea, that concept reaches an especially natural destination.

The album marks the 30th anniversary of Herwig’s Latin Side series, a project that has previously explored the music of figures including John Coltrane, Miles Davis, Wayne Shorter, Herbie Hancock, Joe Henderson, Horace Silver and Charles Mingus. Chick Corea is an ideal subject because his music already carried a strong affinity for Latin, Spanish and Afro-Caribbean influences. Rather than imposing clave onto Corea’s compositions, Herwig reveals rhythmic possibilities that were already embedded within them.

That approach is brought to life by a formidable edition of the Latin Side All-Stars. Herwig is joined by saxophonist and flutist Craig Handy, trumpeter Alex Norris, pianist Bill O’Connell, bassist Rubén Rodríguez, drummer Robby Ameen and conguero Mauricio Herrera.

O’Connell is especially important to the project. As pianist and co-arranger, he serves as the harmonic bridge between Corea’s sophisticated language and the Afro-Caribbean framework surrounding it. His playing preserves the openness and harmonic colour of the original compositions while allowing montuno, syncopation and rhythmic counterpoint to become structural elements rather than decoration.

The horn section is equally commanding. Herwig’s trombone combines muscular attack with remarkable fluidity, Handy brings contrasting colours on reeds and flute, and Norris supplies brilliance and rhythmic precision. Behind them, Rodríguez, Ameen and Herrera create the album’s essential foundation: a rhythm section capable of moving naturally between jazz swing, tumbao and clave-driven propulsion.

The opening “Matrix” immediately establishes the album’s intent. Corea’s angular lines become newly physical when placed against an Afro-Caribbean rhythmic grid. Herwig’s trombone seems to converse with Herrera’s congas, stretching across the pulse before locking back into the groove.

“500 Miles High” undergoes a particularly effective transformation. Its familiar fusion atmosphere remains intact, but the new rhythmic setting brings the composition closer to the dance floor. The melody no longer simply floats above the rhythm; it becomes part of the groove itself.

A more lyrical approach shapes “Windows.” Here, Herwig and O’Connell resist the temptation to overload the piece. The Afro-Caribbean undercurrent subtly alters its momentum while preserving the transparency of Corea’s harmonic design.

The technical summit may be “The Brain,” which Herwig describes in the booklet as one of Corea’s most complex and far-reaching compositions. Its intricate rhythmic architecture gives the ensemble ample room to demonstrate both discipline and freedom. Herwig’s trombone is particularly effective, slipping between long, supple phrases and sharply articulated responses to the percussion.

Then comes “Spain,” inevitably the album’s biggest interpretive challenge. Few modern jazz compositions have been recorded more frequently, yet this arrangement finds a fresh point of entry. Rather than merely adding percussion to a familiar standard, Herwig and O’Connell shift its center of gravity toward an assertive Afro-Caribbean pulse. Herrera’s congas, Ameen’s drums and Rodríguez’s bass generate a communal drive beneath the famous melody, while the horns give the arrangement the energy of both the jazz stage and the rumba circle.

Across ten tracks—including “Tones for Joan’s Bones,” “Guajira,” “Humpty Dumpty,” “Litha” and “Crystal Silence”—the ensemble treats Corea’s catalogue as living material rather than museum repertoire. The album booklet describes Herwig’s goal as a combination of “tribute, imagination, and transformation,” and that phrase captures the recording remarkably well.

The Latin Side of Chick Corea ultimately succeeds because it respects both sides of its musical equation. Corea’s harmonic sophistication remains unmistakable, while the Afro-Caribbean rhythmic language is treated with equal seriousness and depth.

Thirty years into the Latin Side journey, Conrad Herwig’s tribute to Chick Corea continues to demonstrate that clave is not simply something placed beneath jazz. In the right hands, it can become a new way of hearing the music itself. Highly Recommended.

Released: July 2026
Label: Savant Records
Runtime: 58:25

Tracklist

1. Matrix — 5:18
2. 500 Miles High — 6:08
3. Tones for Joan’s Bones — 5:25
4. Guajira — 4:15
5. Humpty Dumpty — 5:41
6. Windows — 5:5
7. Litha — 6:48
8. The Brain — 6:41
9. Crystal Silence — 6:34
10. Spain — 5:33

Personnel Credits

Conrad Herwig — trombone, arranger, leader
Craig Handy — flute, soprano saxophone, tenor saxophone
Alex Norris — trumpet; flugelhorn on “Windows”
Bill O’Connell — piano, arranger
Rubén Rodríguez — bass
Robby Ameen — drums
Mauricio Herrera — congas

Production Credits

Producer: Conrad Herwig
Executive Producer: Barney Fields
Post-Production Creative Consultant: Luques Curtis
Recording Studio: Trading 8s Recording Studio, Paramus, New Jersey
Recorded and Mixed by: Chris Sulit
Mastered by: David Darlington at Bass Hit Studio, New York
Cover Art: Ying Li
Graphic Design: Irem Ela Yildizeli

On 3Discovery Vol. 1, Cuban-born pianist and composer Kemuel Roig turns the classic piano trio into a vivid arena for rhythmic invention, harmonic sophistication and spontaneous interplay. Roig delivers a lively and deeply personal recording that brings together Cuban tradition, modern jazz and the excitement of musicians discovering a shared voice. Joined by bassist Samuel Burgos and drummer Juan Armando Díaz, Roig leads a group that sounds remarkably settled despite this being the first recording to feature all three together as a unit.

Roig’s background helps explain the album’s strong rhythmic character. He began his musical training in Cuba with percussion and classical piano before continuing his career in the United States, where he developed into a versatile pianist whose work has crossed jazz, Cuban music and other contemporary styles. Over the years, he has performed and recorded with artists including Arturo Sandoval, Al Di Meola, Aymée Nuviola, Chris Potter and Randy Brecker.

On On 3Discovery Vol. 1, however, Roig is less interested in displaying credentials than in creating a genuine group sound. Burgos provides a strong melodic presence on bass, while Díaz plays with flexibility and imagination, constantly shaping the music’s direction. Roig gives both musicians plenty of room, and the result is an album that feels conversational rather than tightly controlled.

The opening “Reflejos” establishes a reflective mood before the trio gradually opens the music up. “Conga Jazz” moves in a more festive direction, drawing inspiration from Santiago de Cuba’s carnival tradition and giving Roig and Burgos space for an animated exchange. “Vida” is one of the album’s most joyful moments, a mambo-like celebration, bright and energetic, without becoming overstated.

“Freedom,” the longest track, adds another dimension with Gary Galimidi on guitar. His presence broadens the sound and gives the piece a more expansive, contemporary character. “Philotimo,” dedicated to Galimidi, is another highlight, balancing rhythmic tension with an easy sense of movement.

Roig’s more lyrical side emerges beautifully on “El Secreto de sus Ojos,” a tender piece that feels intimate and expressive. “Opus” introduces a subtle Brazilian flavour before returning to a distinctly Cuban sensibility, while “JD’s World” closes the album with Díaz taking center stage over a repeating rhythmic figure.

The three reimagined Cuban classics are equally revealing. “Quizás, Quizás, Quizás” is given a fresh identity through a new rhythmic and harmonic setting. “Angélica,” associated with the great Cuban pianist and composer Emiliano Salvador, becomes both tribute and personal statement. “Realidad y Fantasía” offers a quieter contrast, allowing melody and mood to carry the performance without a vocalist.

What ultimately makes 3Discovery Vol. 1 work is its sense of balance. The music is sophisticated without feeling heavy, energetic without becoming excessive, and deeply Cuban without being limited by tradition. Roig’s compositions provide a strong foundation, but the trio’s personality emerges through the way the musicians listen and respond to one another.

3Discovery Vol. 1 is a confident and engaging statement from a pianist who understands both the history he comes from and the freedom required to move beyond it. For listeners interested in contemporary Cuban jazz, strong trio playing and music that combines depth with genuine enjoyment, this is an album well worth hearing. Highly recommended.

Released: July 2026
Label: Life in Music
Runtime: 1:00:16

Tracklist

1. Reflejos – 6:04
2. Conga Jazz – 8:24
3. Quizás, Quizás, Quizás – 5:47
4. Angélica – 8:57
5. Vida – 6:09
6. Freedom – 12:13
7. Philotimo (Dedicated to GG) – 7:54
8. El Secreto De Sus Ojos – 8:26
9. Opus – 5:47
10. Realidad y Fantasía – 4:24
11. JD’s World – 2:06

Credits

Kemuel Roig – piano
Samuel Burgos – upright & electric bass
Juan Armando Díaz – drums
Gary Galimidi – Guitar (track 6)

On Latin Jazz Meets Opera, New York-based baritone Christopher Sánchez turns an audacious crossover idea into a compelling musical autobiography. Drawing on his Dominican roots, classical training and immersion in New York’s jazz culture, Sánchez brings opera, bolero, bachata, salsa and American popular song into a single expressive world. The album’s achievement lies not simply in combining genres, but in revealing how naturally they coexist within his own artistic identity.

Sánchez grew up between cultures. Latin music and Spanish shaped life at home, while the broader American environment introduced a different language and set of customs. Opera, meanwhile, captured his imagination with its emotional scale and dramatic power. Latin Jazz Meets Opera resolves those parallel influences by treating them as parts of the same story—one shaped by migration, family memory, romance and belonging.

The opening “Quien Será” establishes the album’s historical perspective. Best known in English as “Sway,” the song evokes the movement of Caribbean music through radio, dance halls and international popular culture. Sánchez’s commanding baritone adds theatrical depth without sacrificing the melody’s rhythmic grace, immediately setting the tone for an album in which familiar repertoire is heard through a fresh cultural lens.

That concept becomes especially vivid on “Carmen’s Habanera,” the first of three duets with soprano Jazmine Saunders. Bizet’s celebrated aria already carries the imprint of Caribbean rhythm, and the arrangement draws out that connection rather than imposing one artificially. Saunders’ luminous soprano provides an effective contrast to Sánchez’s darker vocal timbre, and their rapport gives the operatic selections warmth as well as technical polish.

Mozart’s “Là ci darem la mano” is perhaps the album’s most inspired reinvention. Recast as a danzón, the duet retains its elegance and seductive tension while gaining a distinctly Caribbean sense of poise and movement. The transformation feels inevitable rather than decorative, demonstrating how closely operatic courtship can resemble the ritualized intimacy of Latin dance.

Romance remains central in Ernesto Lecuona’s “Damisela Encantadora” and “Unforgettable.” Sánchez approaches the latter not as a coolly polished American standard, but as a bolero—a song of direct emotional exposure. “The Flower Duet,” again featuring Saunders, brings the romantic arc to its most delicate point. Its beauty carries an undercurrent of separation, introducing the reflective mood that shapes the album’s second half.

The emotional centre shifts toward heritage with Juan Luis Guerra’s “Bachata Rosa.” In this context, the song becomes more than a romantic classic; it serves as an affectionate invocation of the Dominican Republic, family and the identity Sánchez inhabits through language and memory. “Quizás, Quizás” and “The Shadow of Your Smile” deepen the atmosphere of uncertainty and loss, linking jazz balladry with bolero’s emotional candour.

The album’s defining statement is “Un Retoño de Santiago,” written by Sánchez, Enrique Feliz and pianist Dayramir González. Built on a salsa foundation, the piece affirms Sánchez as a descendant of Santiago while also acknowledging New York as a vital centre of Caribbean reinvention. It is the moment when the album’s themes of exile, inheritance and self-definition come fully into focus.

González’s arrangements and orchestration are essential throughout. His piano bridges jazz harmony and operatic drama, while Carlos Mena’s upright bass, Keisel Jimenez’s timbal and Edgar Martinez Ochoa’s congas, bongó and percussion provide a supple rhythmic foundation. Giovanni Siveroni and Xito Lowell add vibrant brass colours, while Monica Davis, Yesu Woo, Angela Pickett and Laura Metcalf bring chamber-like richness to the string writing.

Latin Jazz Meets Opera is ambitious, elegant and emotionally grounded. Christopher Sánchez does more than place an operatic baritone inside a Latin jazz ensemble: he creates a convincing language of his own. The result is a distinctive debut that honours Dominican heritage, expands the possibilities of vocal Latin jazz and introduces an artist with a clear and memorable vision.

Released: May 2026
Label: Zoho Music
Runtime: 45:59

Tracklist

1. Quién Será – Pablo Beltrán Ruiz, Luis Demetrio
2. Carmen’s Habanera – Georges Bizet
3. Là ci darem la mano – Wolfgang Amadeus Mozart
4. Damisela Encantadora – Ernesto Lecuona
5. Unforgettable – Irving Gordon
6. The Flower Duet – Léo Delibes
7. Bachata Rosa – Juan Luis Guerra
8. Quizás, Quizás – Osvaldo Farrés
9. The Shadow of Your Smile – Johnny Mandel, Paul Francis Webster
10. Un Retoño de Santiago – Christopher Sánchez, Enrique Feliz, Dayramir González
11. The Christmas Song – Robert Wells, Mel Tormé

Credits

Christopher Sánchez – baritone vocals
Jazmine Saunders – soprano vocals on tracks 2, 3 and 6
Dayramir González – piano
Carlos Mena – upright bass
Keisel Jimenez – timbal
Edgar Martinez Ochoa – congas, bongó and percussion
Giovanni Siveroni – trumpet
Xito Lowell – trombone
Monica Davis – violin
Yesu Woo – violin
Angela Pickett – viola
Laura Metcalf – violoncello