The Conga Line Forms on the Left

The legendary Jelly Roll Morton once identified “the Spanish tinge” as an essential element in the jazz mix. But it’s unlikely that even the imaginative Morton could have envisioned the myriad ways in which Latin rhythms, Latin creativity and Latin sensibilities have impacted the music.

A small sampling of recent “Spanish-tinged” albums reveals the remarkable diversity of jazz that is being produced--both in this country and throughout South America--by Latin artists.

Conguero Ray Barretto has been a vital figure in Latin jazz since he first played congas with Charlie Parker more than 40 years ago. “My Summertime” (Blue Note/Owl, 3 1/2 stars) is Barretto at his best, a vital force in the rhythm section and a first-rate leader. The variety of thoughtfully arranged tunes, from Dave Brubeck’s “In Your Own Sweet Way” and standards such as “Autumn Leaves” to Thelonious Monk’s “Off Minor,” demonstrates Barretto’s ability to bring warmth and ingenuity to almost any kind of material.

The Southland’s own conguero, Poncho Sanchez, has been demonstrating the healthy virtues of jazz-salsa for years. “Baila Mi Gente” (Concord Picante, 3 stars) is a retrospective of his recordings of the last two decades. In addition to the classic title track (“Dance, My People”), the music moves comfortably--generating irresistible dance rhythms along the way--through mambo, cha-cha-cha and salsa.

Yet another conguero, the veteran Pete Escovedo, plays conga, timbales and even sings in a spirited group of tunes on “Flying South” (Concord Picante, 2 1/2 stars). The production is top-loaded with special guests, including saxophonists Gerald Albright and Najee, pianist George Duke, guitarist Ray Obiedo and steel drum player Andy Narell. Danceable, easygoing music is the result, but the jazz content remains in the background.

Ivo Perelman, the implacable avant-gardist from Brazil, has released his third album based upon children’s songs by indigenous Brazilian people, “Tapeba Songs” (Ibeji Records, 2 1/2 stars). The combination of Perelman’s brawny tenor saxophone sound and disjunct phrasing--reminiscent of Archie Shepp and Albert Ayler--with the sing-song melodies of the Tapeba people from northeast Brazil works surprisingly well.

Pianist Joao Donato was one of the more radical musician-songwriters associated with the bossa nova movement in Brazil. Many of his meter-challenging rhythms and colorful harmonies survive in “Coisas Tao Simples” (World Pacific, 2 1/2 stars). But this is, for the most part, easygoing jazz bossa, gently massaging the ear with seductive melodies, brisk piano improvisations and Donato’s soft-spoken, Jobim-like vocals.

Texas-born singer Adela Dalto is the widow of pianist Jorge Dalto, George Benson’s former music director. “Papa Boco” (Milestone, 2 1/2 stars) showcases her excellent singing and songwriting abilities, as well as her warm, pliable sound and solid feel for rhythm.

“The United Nations of Messidor” (Messidor, 3 1/2 stars) is as good a sampler of contemporary Latin jazz (and related musics) as one could wish. There is marvelous piano work from Jesus “Chucho” Valdes, Charlie Palmieri and Gonzalo Rubalcaba, seductive reed playing from Paquito D’Rivera, performances by Mario Bauza’s stirring big band, Latin soul renderings of Joe Zawinul’s “Mercy, Mercy, Mercy” (by Giovanni Hidalgo) and Horace Silver’s “Nica’s Dream” (by Carlos “Patato” Valdes), and a guest appearance by Dizzy Gillespie. An essential compilation for anyone’s jazz collection.

Albums are rated on a scale of one star (poor) to four stars (excellent).