The stamp that Oscar Hernández has put on music – not simply Afro-Cuban, Afro-Caribbean music and the often-seamless mélange of all of those ensuing rhythms into its broader Black American diasporic music – is indelible. However, what often goes unnoticed is that he has almost single-handedly all-but revived the rhythmical energy and excitement in storylines and the presentation of Salsa Dura. Swing Forever, by, the Spanish Harlem Orchestra [SHO] is the latest chapter in his mission.

For those too young to remember the halcyon days of New York’s dancehalls Salsa Dura, or ‘hard salsa,’ is music played in an idiom characterized by its thunderous, life-affirming pulsations from conga and bongo drums, with the sensuous pizzicato attack of the güiro and maracas, underpinning the complex arrangements, of melodic and harmonic flights of the brass instruments.

Mr Hernández  was not the pioneer of this music, but he persisted in playing it, firm in the belief that an important ‘voice’ was missing in music when this vital form from 1960s and 1970s New York City, where Afro-Cuban musical elements with jazzical influences, created vibrant and dynamic sounds that resonated with dancers and musicians alike.

He has persisted with this musical evangelical mission and has been rewarded by holding fort in the [many celebrated] bands, especially of maestros Rubén Blades – where he was music director – and other legendary bands of Ray Barretto, to whom this recording by the SHO is dedicated.

The repertoire on  this album has been exquisitely performed, its Salsa Dura intensity and jazzical swing is an important chapter in the legacy of the SHO and the Mr Hernández, its inspirational and hard-driving leader.

It is difficult to imagine a better recording by the SHO [despite the other stellar recordings in its catalogue] than Swing Forever. The performance of its brass, rhythm and vocal components – led by the cool and aristocratic dignity of its pianist-arranger-leader – combines vibrant, colourful energy with the poetic story-telling of salsa dura.

Nuances of tempo and -phrasing [cue Yo Vine Pa’Echar Candela from the Ray Barretto songbook, and Sentimiento De Mi Son from the leader’s oeuvre and Llegó El Caballero with special guest, Gilberto Santa Rosa] make room for each of the performers to contribute soaring soli.

Everywhere else too, the SHO’s superbly fused ensemble performance focuses the alternating elegance and wildness with unique perception. Theirs is an agitated, and loving view of swinging salsa dura not by exaggerating it but by constantly varying tone, tempo, storylines and modes of attack.

Most of all these musicians redefine the idiom – not by suggesting that they long for its return. But thanks to the ingenuity of Mr Hernández and the SHO, show how – with their outstanding oeuvre – a profoundly beautiful and truthful appropriation of the idiom can live in the hearts and minds of future generations of music lovers. Bravo to the SHO…!

^{Deo Gratis…}

Music – 1. Yo Vine Pa’Echar Candela; 2. Ven Goza Conmigo; 3. Cuando Te Ví; 4. Las Calles; 5. Llegó El Caballero; 6. Sentimiento De Mi Son; 7. Anhelo en la Lluvia; 8. Bailador; 9. Mi Mambo Sonó; 10. El Amor de Carolina; 11. Swing Forever.

Musicians – The Spanish Harlem Orchestra is Oscar Hernández: piano, leader and music director; Marco Bermúdez: vocals and coro; Carlos Cascante: vocals and coro; Jeremy Bosch: vocals, coro and flute; Manuel “Maneco” Ruiz: trumpet; Alex Norris: trumpet; Doug Beavers: trombone; Juan Gabriel Lakunza: trombone; Mitch Frohman: baritone saxophone and flute; Luisito Quintero: timbales; George Delgado: congas and güiro; Oreste Abrantes: bongos and maracas; Jerry Madera: bass. Special guest – Gilberto Santa Rosa: lead vocal [5].

Released – 2024
Label – Ovation Records [OV SHO 02]
[ovation-records.com]
Runtime – 1:02:10

from https://latinjazznet.com