IRVING FLORES, Armando Mi Conga

While it’s not likely that the great Irving Flores will be the subject of a major motion picture starring Bradley Cooper, the internationally renowned Mexican-American pianist, composer, arranger and producer is, in his circles, every bit “El Maestro” as Leonard Bernstein. Over his four-decade career, he’s created award winning orchestrations for countless Latin music legends (Armando Manzanero, Luis Miguel, Eugenia Leon, Willie Colon, Tania Libertad) and the San Diego Symphony and shared stages with jazz greats Poncho Sanchez, Airto Moreira, Alex Acuña and Justo Almario.   

Fitting for a legend who calls his bold, multi-faceted, richly immersive and rhythmically explosive new Latin/Afro-Cuban jazz ensemble album Armando Mi Conga his “love letter to Latin America. . .my journey and a tribute to the rhythms who shaped me,” Flores extensive press kit includes praise filled testimonials from several musical luminaries. Yet nothing is more important to artists than the spontaneous applause from so called regular fans. On Flores’ website, he posts an incredible quote from an audience member about the pianist’s performance with Sanchez at Vitello’s club in Studio City, CA. Michael Robinson says, “All of the eight musicians onstage were superb, including the unforgettable image of Irving Flores’ fingers dancing on the piano keyboard like a Kathak master” – a unique reference to another cultural phenomenon, that of classical Indian dance known for its unique storytelling, rhythmic footwork and intricate gestures.

Though he is the bandleader of the all-star sextet showcasing their dazzlingly infectious, freewheeling magic on Armando Mi Conga, the Mexican born, San Diego based Flores’ surreal Kathic-like melodic, harmonic and rhythmic piano excitement is just one of the grand elements of the nine-track, one hour collection recorded live in NYC during two 10 hour sessions at East Side Sound. Conceived as a culmination of wisdom, musical and traveling experience and the finely chiseled arts of personal and professional sacrifice, dedication and discipline, it’s a full blown, wildly exuberant and fun-filled yet often soulful and poignant expression of love, loss, rebirth and, to draw from the name of a famed rock/R&B band, many decades of blood, sweat and tears.

It’s one of those classic styled “player’s albums,” a chemistry and friendship based work where the featured bandleader cheerfully offers the spotlight to the improvisational power of his famed cohorts – including Giovanni Hidalgo (congas), Brian Lynch (trumpet), Horacio “El Negro” Hernández (drums), John Benitez (upright and electric bass), and Norbert Stachel on tenor sax, baritone sax, clarinet, and flute.    

Flores and company leap quickly into an intoxicating wave of fiery energy from the get go on the eight and a half minute barn-burning title track, a piece the pianist wrote back in ’94 and, as he says, “is now in the hands of the best percussionist in the world.” That would be Hidalgo, who opens the track with an otherworldly multi-instrument array that draws us into the deeper furious, fast-rolling and super funky jam highlighted by a whimsical hand off of dynamic improvised solos from Brian Lynch’s trumpet to Norbert Stachel’s hot tenor and finally to Flores, who showcases his trademark piano dancing skills after playing the poppin’ harmony role for most of the piece. To say “Armando Mi Conga” pops and cooks is an understatement.

The true magic of the album is the way the ensemble complements their high octane transcendence with more sensually performed gems like “Gary En Nachhital,” a polyrhythmic piece (and the first tune they recorded that pays homage to the influence of Cuban danzon music in Flores’ life. It’s full of fascinating, cool tempo shifts, following subtle seductive passages (including one with cheery clarinet) with booming drum fills and then scorching trumpet and piano solo action.

While the rest of the winsome repertoire, from the gorgeous, romantic piano trio gem “Tramonto a Massa Lubrense” (truly showcasingng Flores’ dramatic grandeur and classical influences) through the swinging and sexy as hell, no holds barred free for all, adventurous romp “Dana Point,” seems designed as a journey through the Latin music space-time continuum, the deeper heart and soul of the project is the two tracks of “With Amanda in Favignana,” devoted to the love of Flores’ life, who suggested a bonus track capturing a piano solo of the tune he composed for her on the Italian island of Favignana.

The full ensemble version of “With Amanda in Favignana” is a peppy, joyous affair, rolling carefree abandon and playfulness highlighted by Lynch’s rich, extensive solo trumpet excursions that seem like they’re announcing the blossoming of a great love affair, which is followed by an equally buoyant Flores solo that finds his fingers – and by extension, his heart – dancing over boisterous drums and percussion, the musical equivalent of sunshine. The pretty piano solo take on the track that concludes the album is slower, more methodical and contemplative, the twinkling concert pianist version of the same exciting expression. These two dramatically different ways to perform the same piece and express all those emotions take the collection to a transcendent emotional level.

While Armando Mi Conga is probably best experienced as a straight through listening experience full of twists, turns, magnificent musicianship and alternating rhythmic vitality, there are a few other entry points to consider for those looking for amazing tracks to populate a Latin jazz playlist. “Music en la Calle” is a single take blast of exhilarating quartet intensity, spotlighting some of Flores’ most majestic finger work in colorful conversation with Hidalgo’s congas, Hernandez’ drums and Benitez’s snappy upright bass. Another can’t miss choice is “Samba Con Sabor,” which lives up to its tasteful title as a speedy swirl of Flores piano and Norbert Stachel’s stellar flute dancing, complemented by more of Benitez’s pumping coolness.

The only question is, what does Michael Robinson think about this album? I’m thinking he’d find something much hipper to say than anything I have come up with – but until he chimes in, hopefully you’ll feel just how spectacular it all is!