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 their debut disc’s packaging to the resplendency of its rhythms and rapport, the four-piece Afro-Cuban influenced ensemble speaks and interacts in bold primary colors. Along with that collective directness comes an unexpected absence of bombast or obviousness, two traits prone to marring others that operate out of the blended idiom that is Latin jazz. Rather than take the path of least resistance and target audience hips and feet, the band opts to work out of a less predictable bag. The flavor of the dance floor is still palpable, but shaded with a challenging succession of metric and harmonic complexities that keep the players and potential listeners from slipping into autopilot.

Saxophonist Paul Carlon shows a marked Joe Henderson influence with a dry rounded tone and a darting phraseology 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 drummer William “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 alternates between electric and nine-string acoustic and shows a strong affinity with Carlon for baton-passing in the frontline. His nimble work on the latter axe also opens up an entire side pocket of chordal possibilities. He strolls along the precipice of classical preciousness, leaving behind a gilded trail of notes. Bassist David Ambrose has the least glamorous role, laying the anchor much of the time with a steady touch. His vibrant 11th inning 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 two convincing case studies in rhumba-calibrated tap accompaniment. Notes hint at regular stands at the Brooklyn watering hole Barbes. Based on the sounds captured here it’s a gig locals should strongly consider penciling in on the calendar.

~ Derek Taylor