Chevere is a new Latin-influenced jazz conglomeration headed by noted local pianist Dave Ellington. Produced by Brian Seeger at Word of Mouth Studios, this record also features Brent Rose on tenor, Harry Rios on trombone, Hart McNee on flute, Michael Skinkus on percussion, Mark Diflorio on drums, Brian Quezergue on bass and guest appearances from several other local greats including Eric Traub, Joshua Paxton, remarkable violinist Matt Rhody and king of the local Latin music scene, Fredy Omar among several others.
Like several of the local “Latin” acts that have popped up in the past few years, this recording is more accurately a jazz record with a Latin flavor made by Anglo artists featuring a few guest appearances by Latin performers. Whatever your opinion of this distinctly local phenomenon there is no denying that this is a very good record that deserves to be heard by a wider audience.
Con Permiso displays the superb flute playing of Hart McNee whose extended solo is a real delight. “Rosalinda, Baila Mi Ritmo” features the lyrics and splendid vocal skills of Fredy Omar. Not content to simply go it alone, Fredy also brings along Matt Rhody, his violinist, whose performance on this track is simply outstanding. These two tracks are the most traditionally Latin in flavor and really do work as fine representatives of the genre.
The remaining tracks are almost all uniformly excellent, with the emphasis switching to more conventional modern jazz with Latin accents. The title track has somewhat of a modern Sonny Rollins feel to it with Brent Rose soloing over a Latin/Caribbean rhythm featuring the fine percussion work of the ubiquitous Michael Skinkus. “The Big Bad Wolf” is perhaps the most typical example of this distinctly New Orleans funky Latin jazz hybrid phenomenon, sounding something like Los Hombres Caliente crossed with Quintology. It is perhaps the least stereotypically Latin-sounding track, but the excellent work of Josh Paxton on funky clavinet and a killer Ellington piano solo are so deeply rewarding that you really just don’t care. “Soul Survivors” closes out the record with a funky ’60s-style Blue Note soul/jazz fusion feel with excellent tenor work by Eric Traub ending with a timeless funky solo New Orleans piano fade.
Latin purists may find fault with the concept of this record as just another watered-down crossover attempt to cash in on the so-called Latin music craze. No, this is obviously not the work of true masters of the genre like Eddie Palmieri or Tito Puente’s band, but that is really not the point. To fall prey to such snobbishness is to miss out on a very satisfying and interesting recording that allows many of New Orleans’ very finest musicians to do what they do best in a novel setting. If you check your prejudices at the door and don’t place too much emphasis on authenticity and legitimacy, this release is bound to please.
