Latin Jazz piano trios place musicians in a thought provoking position; it requires them to consider a balance between freedom and constriction. Latin Jazz piano trios generally utilize drum kit, leaving the group without any percussion. In most Latin Jazz settings, percussion creates an immediate connection to Latin traditions, clearly defining the music’s Latin heritage. Without this easy path, the group freely implies the original styles, sometimes playing fusions of Latin styles and other music. This freedom benefits the group in some ways, providing the ability to compose without the strict clave guidelines. The further the group strays from the original styles though, the less their music sounds like Latin Jazz. They run the risk of playing watered down versions of Latin rhythms that sound more like exotic rock than authentic Latin Jazz. It’s a fine balancing act, and the trio must carefully compose songs that balance these elements. Negroni’s Trio finds a powerful line between these two ideas on Father and Son, presenting a strong group of compositions and arrangements that clarify their personal vision while maintaining a connection to Latin traditions.

A Strong Connection to Latin Roots
Some songs retain strong connections to Cuban rhythmic styles, giving the compositions a solid conceptual foundation. “De Un Pájaro Las Dos Alas” brings together the Cuban danzón and the Puerto Rican danza with drummer Nomar Negroni’s rim shots, pianist Jose Negroni’s elegant melody, and Quique Domenech’s cuatro. Steady piano breaks and Nomar’s sparse drums make room for bassist Marco Panascia’s improvisation, full of blues licks and quick runs. A texture change welcomes alternating ideas from Domenech and Jose, until a piano and bass vamp leaves space for Nomar’s complex fills. Panascia’s funky bass line establishes a modern songo groove on “Your Melody,” broken by the melody’s open feel. The Negronis develop an aggressive funk vamp for Panascia’s soulful statement, which transitions into an extended interlude. Nomar and Panascia drop into a timeless feel, allowing Jose to build from a whisper into a storm of rhythmic invention. A series of band breaks leads the group into a dramatic melody over a clave-driven groove on “Father & Son.” José’s solo enters with dignified phrasing over a march rhythm, until a modern son montuno provides the opportunity to stretch the time with polyrhythmic ideas. After a return to the introduction, José and Panascia play recurring breaks, leaving room for Nomar to develop an intriguing drum solo. Jose’s personal interpretation of a classic melody opens “Bésame Mucho,” complimented by Panascia’s intertwining lines. Nomar transitions into a bolero for José’s thoughtful improvisation, which weaves between references to the melody and his own creativity. José introduces more rhythmic lines while Panascia plays an active bass line, subtly transforming Nomar’s bolero into a funky groove. Each song here retains an identifiable connection to the music’s Latin roots, strengthening the already intricate compositions.

Stylistic Implications and Strong Compositions
The trio implies musical elements to build a link to Latin style, allowing his compositions to hold the music’s weight. Jose’ opens “Raíces” with a rubato electric keyboard until a call and response run between piano and bass introduce the melody. The group carries the main melody through a long series of thematic developments, ending with an electronic keyboard solo from José. Panascia displays impressive virtuosity and a strong understanding of clave as he improvises over the sparse texture of Nomar’s drumming. A tense run leads into a rhythmic piano part countered by Panascia’s bass line on “Teatro.” While the song implies Latin styles, the compositions’ dramatic contrasts and the tight coordination between the drums and piano provide the power. José plays a solo that follows the song’s emphasis on extremes, going between quick virtuosic lines and open phrasing. José establishes a melodic vamp in 6/8 that Nomar counters with a double time polyrhythm, leading “50 Years” into its melody. The band explores a variety of variations on the 6/8 feel, moving through a complex composition into José’s solo. He emphasizes melodic development, leaning upon syncopation to build rhythmic tension until a striking interlude transitions back to the melody. Negroni’s group holds a link to Latin styles without blatantly exposing them, focusing upon carefully constructed compositions.

Exploring a Variety of Directions
Negroni steps completely outside of the Cuban tradition for some songs, exploring a wide variety of directions. A unison break leads José into a strong theme over percussionist Alex Acuña’s Peruvian cajon on “Cajón y Tecla.” José performs a short solo based upon melodic exploration, returning to the song’s opening break. Acuña attacks a ferocious roll to begin his solo, leading into an inventive rhythmic statement that both defines his voice and compliments José’s comping. José plays flowing arpeggios against an airy groove on “Cielo Azul,” until a series of band breaks moves the group into a driving swing section. As the rhythm section continues to move between swing and son montuno rhythms, José creates a startling statement that boldly weaves through the different styles. Nomar ends the song with an extended and unaccompanied drum solo that explores space and texture, employing a variety of techniques and colors. Maria Nahíma’s striking voice opens “En Silencio” alone, gaining strength as the trio enters behind her. José supportively provides a variety of chordal colors while Panascia and Nomar establish a solid rock feel underneath Nahíma’s passionate phrasing. José briefly asserts himself as a soloist between vocal breaks, presenting a much more subdued improvisatory voice. These pieces allow the trio to display a wide range of influences, while maintaining their individual voices.

Taking Latin Jazz Trio Performance to a New Level
Negroni’s Trio brings out the best elements of Latin Jazz trio playing on Father and Son, presenting a highly personal approach that maintains authenticity. The group demonstrates a thorough understanding of Cuban and Puerto Rican music throughout the album, referencing both rhythmic structures and traditional phrasing. Although they often embellish the original styles, their deep knowledge allows them to imply the genres without loosing their essence. The album’s complex compositions strengthen the trio and provide momentum to their overall concept. The songs generally exist outside the norms of jazz standards, utilizing extensive melodic development and longer forms. The precise correlation between trio members creates a powerful sound; everything played by the trio members during composed sections relates to the larger structure. When the trio members improvise, the almost telepathic communication between the soloists and rhythm section consistently pushes the group to exciting levels. Negroni’s Trio successfully performs the balancing act between freedom and authenticity; in fact, they make it look easy, taking Latin Jazz trio performance to an exciting new level.