A former classically trained violist and pianist, this Santiago de Cuba native’s sound is as marked by the influence of the contemporary classical composers such as Schoenberg, Ravel, and Copland as by traditional Afro Cuban sounds and jazz greats Bud Powell, Art Tatum, and Thelonious Monk. After winning Best Cuban Composition at the Symposium of Cuban Music in Jamaica in 1995, Aruán was discovered by the Spanish record label Magic Music/Universal Latino, which brought him to Spain. There he participated in the compliation project La Isla de la Música (1996), which was acclaimed by the international press and recognized as one of the first albums to bring Cuban music to the European and American mainstream. While in Europe he was the recipient of various awards including Best Jazz Interpretation, Festival de Jazz in Vic, Spain (2000) and Semifinalist, Jas Hennessy Piano Solo Competition, Montreux, Switzerland (2001).

Aruán’s jazz career took off as a sideman in Barcelona and Paris, and later in the U.S. with Wallace Roney, Antoine Roney, Terri Lyne Carrington, Greg Osby, Cindy Blackman, Esperanza Spalding, Gary Thomas, Wayne Krantz, Rasheed Ali, Stefon Harris, Horacio “el negro” Hernández, Giovanni Hidalgo, Lionel Lueke, Jane Bunnett, and Jerry Bergonzi.

While Aruán considers himself a jazz musician before a Cuban jazz musician, he incorporates Middle Eastern, Asian, African, and Cuban rhythmic elements into his compositions. This is evident in the original compositions in his recordings as a band leader (Impresión Tropical, Universal 1996; Vol. 1: Mandarín en el Espacio, Universal, 2004; Alameda, Fresh Sound, 2009), where Aruán pays homage the jazz trio and quartet formats, recalling the stylings of jazz greats such as Andrew Hill and Phineas Newborn while incorporating the rhythms of his Cuban antecendents.

Aruán’s ability to subtly incorporate world music elements into avante garde jazz makes his sense of creativity unique and recognizable in different styles. This musical vision led him to be featured on dozens of albums such as the Flamenco influenced recording ‘Evocación’ by the Spanish trumpetist Raynald Colom (2009), Esperanza Spalding’s “Junjo,” (Ayva Música, 2005), Arturo Stable’s “Notes on Canvas” (Origen Records, 2005) and “Calls” (Origen Records, 2009), Russell Kirk’s “Path to Journal Square” (Inner Circle Music, 2009). In 2006 Aruán was invited to play Nat King Cole’s music in Monroe Kent III’s solo performace “Unforgettable,” The Nat King Cole Story, at the Stoneham Theatre. Most recently, Aruán recorded on the innovative jazz album “Wallace Roney, Live at the Iridium” (High Note, 2009).

For the last two years, Aruán has been a member of this multi award winning jazz legend’s quintet, Sound of the Future, touring and recording extensively around the world. Rocky Mountain Jazz says, “Wallace Roney is a Miles Davis disciple and last night’s show had Miles stamped all over it… Aruán Ortiz on keyboards was a particular highlight”.

Aruán has regularly been taking on the critical jazz ear of the New York City public since late 2005 to excellent reviews. The New York Post raves, “Jazz fans applaud, and novices mark your calendars. Aruán Ortiz, critically acclaimed Cuban pianist is a ‘must see,’” and All About Jazz – New York says, “Ortiz give[s] positive meaning to the term intelligent design.” Aruán has also been highly lauded by the international press.

Mitch Frohman – Founder and Leader of “The Bronx Horns”
Riveting tenor sax and flute player, currently touring and recording with Spanish Harlem Orchestra, Mitch Frohman has performed and recorded steadily with Tito Puente for the past 25 years. Frohman was a featured member of Mongo Santamaria’s band from 1988 through 1992, and was a featured sax and flute soloist on Mongo’s three records for Concord Picante.

Bobby Porcelli – Alto Sax
Alto sax legend, Bobby Porcelli joined the Tito Rodriguez Orchestra in 1963 and later the Machito Orchestra in 1965. Porcelli began playing with Tito Puente during 1966 and continued on with Puente for over 30 years. He is the only lead alto sax player to have played steadily with the “Big Three” from the Palladium Era (Puente, Machito, and Rodriquez).

Pete Nater – Trumpet
Sizzling trumpeter, Pete Nater began playing professionally in the Latin music scene in 1972 and joined Larry Harlow as a teenager in 1974. Over the past 30 years, Pete has ben featured with practically every major Latin orchestra, a testament to his skill and virtuosity. He was the leader and co-founder of Grupo Fascnacion throughout the 1980′s (one of the most popular salsa bands of that decade).

Oscar Hernandez – Piano
Musical Director for Ruben Blades. Musical Director for Paul Simon’s Broadway. Founder and Musical Director for Spanish Harlem Orchestra.

Gerardo Madera – Has played with Tito Puente Eddie Palmieri.

Willie Martinez – Drums
One of the most in demand Drummer/Timbale players in the NY Latin/Jazz scene. He has played with the Chico O’farril Orchestra.

George Delgado – Has played various bands, to include Marc Anthony, Spanish Harlem Orchestra and the Latin Giants.

Johnny Rodriquez – Bongo/Bell/Guiro
Played percussion with the Big Three – Tito Puente, Tito Rondriguez, and Machito. Currently touring with the Eddie Palmieri Orchestra.

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A native New Yorker who studied classical music at The Oberlin Conservatory of Music. Early in his career, he played in various salsa and jazz settings that set the tone for his musical style. In 1977, he joined salsa great Mongo Santamaria, writing and performing with him for over two years. Following that he worked with Chet Baker and jazz legend Sonny Rollins with whom he toured the United States and Europe. In 1982, he joined Latin jazz flutist Dave Valentin, and they have been touring the world together ever since, performing before enthusiastic audiences everywhere.

Bill, an internationally recognized composer, has his original compositions on CDs by Mongo Santamaria, Emily Remler, Charles Fambrough, and on virtually every recording made by flutist Dave Valentin. One of Valentin’s most requested songs, “Oasis”, which was recorded by the GRP  Allstars for the CD, “GRP Live in Session”, is one of Bill’s original compositions.

Over the years, Bill has displayed his versatility with numerous other jazz artists including Gato Barbieri, the Fort Apache Band, and vocalists Jon Lucien, Kenny Rankin, and Astrud Gilberto. His six solo recordings, “Searching” on the Inner City label, “Love for Sale” on the Pony Canyon Label, “Signature, featuring Bill O’Connell” on the Blue Moon Mesa label, “Lost Voices” on the CTI label, “Black Sand” and “Latin Jazz Fantasy” on the Random Chance label have received wide critical acclaim throughout the world. On four separate occasions, Bill was the recipient of the coveted “Jazz Writer of the Year” award from SESAC, the performing rights organization. Bill is currently performing with trombonist Conrad Herwig, Dave Valentin and his own band.

Dave Valentin started playing Latin percussion at the age of five and began performing professionally at the age of eleven. At the late age of sixteen he picked up the flute for the first time. After purchasing an album recorded by Hubert Laws, he looked up his name in the Musicians Directory (Union Book), called him and asked for lessons. Mr. Laws is one of the best jazz flutists in the world. For the next six months he was Dave’s mentor. He then took the next three months to train classically with Harold Bennett and three months of training with Harold Jones.

Dave went back to work at his old JHS after school program called “Change Through Music.” He taught Latin Jazz to the inner city kids, and was able to involve gang members in this program, thus giving back to his community. He accepted a position as a full time professor teaching Latin and music for several years. His work and dedication influenced many children to continue their education. Dave has become an extraordinary role model, and feels it is up to people in his position to make a change. He accepts this challenge with open arms.

In 1977, Dave made his recording debut with Ricardo Marrero’s group and he was also on a Noel Pointer album. Discovered by Dave Grusin and Larry Rosen, Valentin was the first artist signed to GRP. Dave recorded over 15 albums for GRP, combining the influence of pop, R&B and Brazilian music with Latin jazz to create a slick and accessible form of crossover jazz.

In 2005, Dave Valentin signed an exclusive recording agreement with New York-based HighNote Records. His first recording, “World On a String” (HighNote HCD 7141), was issued in June of that year. His latest HighNote outing, “Come Fly With Me” (HighNote HCD 7160) was released in September, 2006.

Richie Flores, one of the most in-demand percussionists of today’s active music scene has captured the attention of fans and critics alike by way of his electric performances that continually thrill audiences worldwide. Recently described by Latin Beat Magazine as having “the fastest hands in the East and the West,” Richie’s music is primal and powerful. He is currently in the process of innovating a new sound for the band of which he is leading; an exciting, contemporary fusion containing elements of rap, jazz and even salsa, further complemented by lyrics that contain a positive message of hope, a message that is relevant to the challenging issues we face in today’s ever changing world.

Born in Brooklyn, New York, but raised in Trujillo Alto, Puerto Rico, Richie was a prodigious talent as a young child that began playing congas at the early age of 5. He embarked on his professional career by age 8 playing with Grupo Batacumbele and Roberto Roena and the Apollo Sound. By age 13, he traveled to New York to play with Roberto Roena at the Village Gate, making him one of the youngest musicians ever to travel with a band outside of Puerto Rico. With this successful start under his belt, Richie’s musical career continued to evolve by playing with some of the most respected and celebrated artists in the genre such as Tito Puente, Eddie Palmieri, Cachao, The Fania All Stars, Gato Barbieri, Hilton Ruiz, David Sanchez and the Tropijazz All Stars. He has participated on many notable recordings, including the Grammy Award Winning album entitled “Master Sessions – Volume I,” by Cachao, Grammy nominated album Arete by Eddie Palmieri in 1996 and on Palmas in 1994, as well as David Sanchez’s Grammy nominated album “Obsesion” in 1997. He also has recorded with other notable artists such as Gato Barbieri, Hilton Ruiz, The Tropijazz All-Stars, Tochico Akiochi, Jimmy Bosch and Sergio George. Mr. Flores actively tours the world teaching clinics at various educational institutions on behalf of Pearl Drums.

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Mr. Almario’s playing has been featured on diverse projects, such as Queen Latifah’s  “Living Outloud,” Jennifer Lopez’s hit HBO Special “Let’s Get Loud,” Andy Garcia’s “The Lost City,” and John Turturo’s “Romance and Cigarette” staring Susan Sarandon and James Gadolfini. Mr. Almario has also been featured on various Platinum and Gold records and soundtracks, including “More Dirty Dancing”, “Wow Worship,” and Ron Kenoly’s “Lift Him Up.”

In 2002, while joining the ranks of Cedar Walton, Terrence Blanchard and Joe Lovano, Mr. Almario became an integral part of the Newport Jazz Festival Tour, produced by George Wein.  Additional performance credits include Patrice Rushen’s Grammy Award orchestra, Freddie Hubbard, Roy Ayers, Diane Reeves, George Duke, Sergio Mendes, Billy Higgins, Tito Puente, Machito, Dave Grusin, Ndugu Chancler, Kenny Burrell, Master P, Bebe Winans, Queen Latifah, Charles Mingus, Chaka Kahn, Herb Alpert, Bobby Shew, and many others.

He has also produced, co-lead and played on TOLU’s “Rumbero’s Poetry” as well as Grammy-nominated album, “El Bongo de Van Gogh”. Mr. Almario’s latest album, “Love Thy Neighbor”, features his quartet playing original compositions as well as rare standards.

A man for all seasons, Mr. Almario was the featured soloist with the Los Angeles Master Chorale at the Walt Disney Hall’s Season Opener, where he later performed at a Christmas concert “Celebrar.” Mr. Almario’s stellar career was recently celebrated during a segment of “Stories,” a comprehensive oral history series that chronicles the evolution of jazz, at the legendary drummer Billy Higgins’ World Stage. Currently, Mr. Almario is working on an album that is meant to celebrate his tenured career spanning 45 years in the industry.

A native of Colombia, Mr. Almario went from child protégé to virtuoso. Mr. Almario was primarily influenced by John Coltrane, Cannonball Adderly, Antonio Carlos Jobim, Bartok, Debussy and Bach. He studied at the prestigious Berklee College of Music before doing a stint with Mongo Santamaria as the band’s musical director. He has also taught at the Henry Mancini Institute and has mentored inner city youth during workshops at the World Stage. These days, he teaches saxophone in the Jazz Department at UCLA’s Music School.

Mr. Almario currently endorses Rico Reeds and Jody Jazz mouthpieces.  Although he is extremely appreciative, this modest wind wizard frequently deflects any accolades, opting instead to thank folks for merely showing up and sharing. This is paramount to a keenly sensitive artist who warmly connects with his diverse audience on many levels and will continue to heal and inspire.  Mr. Almario’s music serves as a bridge that links backgrounds, cultures, ages, and socioeconomic status.  His music transcends the mundane and leaves his audience transfixed. A devoted family man, Justo’s spiritual path nurtures both his creative journey and his warm compassion as a human being.

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Daniel Amat, Cuban pianist born in a small town of Havana called Güira de Melena. He grew up surrounded by the rhythms and harmonies of his native Cuba. From a very young age he was influenced by his father Pancho Amat, one of the most important tres players of all times, who passed him the tradition of son, trova, and rumba. While pursuing his formal studies at the National School of Music in Havana, Daniel came in contact with classical music, jazz, and the music of Latin-American composers. Years later he graduated from the National School of Music receiving a degree of classical pianist and professor. All of this allows Daniel to have a unique and authentic style where a fusion can be found between the formal elements of structure, the balance of classical music and the freedom of harmonies and styles of jazz reminding us of Oscar Peterson or Art Tatum among others. Nevertheless, his music is completely dedicated to the main genres of Cuban music such as Son, Changui, Guaguanco, and Danzon. Even though Daniel is influenced by the contemporary influences of the music of today, his style is deeply based on the roots of Cuban music thus creating a unique and authentic musical language.

Daniel has pursued his career internationally, appearing in prestigious venues thoughout Europe, Latin America. His debut CD “El piano que llevo dentro (The Piano Inside of Me)” received the 2005 Cubadisco prize in the Instrumental music category. Currently Daniel resides in Bilbao, Spain where he has been described by the critics as “one of the great pianists of universal jazz”.

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Born in 1921 in a Havana barrio called El Cerro, Candido was initially a multi-instrumentalist, showing facility on tres, guitar, and bass-these being key instruments in the popular Son music of the day. A switch to bongos and congas led to a six-year spell with the CMQ Radio Orchestra and a residency at the famed Cabaret Tropicana.

Heralded as the father of the technique of coordinated independence, Candido had further accomplishments. For one, he pioneered the use of two congas and later three, whereas in past congueros were content with a single drum. His playing became distinctive owing to a tendency to tune, when possible, to the melody of the song. Equipped with three congas and a bongo, he was able to complement horn, piano, and bass lines
with harmonic contributions. In fact, when he recorded “Tea for Two” with Joe Loco, Candido played the melody on congas and bongos.

A move to New York City in 1946 put him in high demand hot property and he soon began working with such premier jazz and Latin artists of our time, including Charlie Parker, Dizzy Gillespie, Machito and his Afro-Cubans, and Mario Bauza. Candido’s uncanny ability to anchor with flare bands of all sizes, from trios to orchestras earned him the respect of musicians and critics.

Further recognition came in 1954, when Candido joined the Stan Kenton Big Band and toured coast to coast. He became a familiar figure on television, appearing with Tommy Dorsey, Patti Page, Tony Bennett, Charo, Machito, Tito Puente, Lena Horne, and Dizzy Gillespie, on such shows as The Jackie Gleason Show, The Ed Sullivan Show, Mike Wallace, and on many specials, including some as far a field as Panama and Tokyo. He soon eclipsed all other congueros in terms of popularity, including the late Chano Pozo. In 1954, pianist Billy Taylor wrote, “I have not heard anyone who even approaches the wonderful balance between jazz and Cuban elements that Candido demonstrates.”

Candido’s long list of recorded work includes sessions with Lena Horne, Billy Taylor, Buddy Rich, Art Blakey, Count Basie, Elvin Jones,
George Shearing, Lionel Hampton, Stan Getz, Wes Montgomery, Woody Herman, Doc Severinson, Marian McPartland, Lalo Schifrin. Mongo Santamaria, Tito Puente, Charlie Parker, and Antonio Carlos Jobim-these in addition to a number of dates as leader.

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Conga dynamo Henry Brun, nicknamed “Mr. Ritmo” by his fans, lives by the authenticity, dynamics and “cadencia” of the music he plays.  Born
in the Bronx to Puerto Rican parents, Henry started playing congas at age seven.  Upon their return to Puerto Rico, by the time he was eleven he was playing professionally.  While listening to and being influenced by Latin music pioneers such as Tito Puente, Patato, Buyú, Mongo and Candido, Henry developed his own unique style and technique on bongos and timbales.

Henry traveled around the world while performing with the U.S. Air Force’s international band, “Tops in Blue”. That allowed him to expand his knowledge of global rhythms and provided the stage for him to work with legends Maynard Ferguson, Bob Hope, Lucille Ball, to name a few.

In 1989, Henry created The Latin Playerz, an ensemble that incorporates a variety of Latin styles with Rhythm and Blues, Swing, and straight ahead Jazz.  They’ve become a touring force, popular in the United States and around the world.

When not performing with his ensemble, Henry can often be found presenting educational workshops or touring with international acts such as Arturo Sandoval, Justo Almario, Charo, Los Lobos, Little Joe y La Familia, and many others.  Henry’s vivacious performances infect the audience with the desire to join in on the fun during his shows.

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