Salsa Steals the Spotlight From Latin Jazz at the Bowl

“Latin Jazz Night Returns!” was the billing for Wednesday’s Lexus Jazzat the Bowl performance. But a good portion of the program had a lot more to do with salsa rhythms and pianistic virtuosity than it did with Latin jazz.

The opening band, Son Mayor, which features six Ortiz brothers in its lineup, is one of L.A.’s most popular Cuban music ensembles. And there was no denying the foot-tapping delights that the group provided in its extended set of tunes. But there also was very little that communicated either the swing or the improvisation of jazz. Good dance music? Yes. Latin jazz? Only in random segments.

The concert’s primary headliner, Cuban pianist Jesus “Chucho” Valdes, possesses well-certified jazz credentials. As the leader of the superb Cuban ensemble Irakere, as well as with his own smaller ensembles, he has produced an impressive body of music that seamlessly blends Afro-Cuban rhythms and jazz improvisation.

But Valdes also has extremely effective skills as an entertainer, and it was that mode rather than his jazz persona that tended to dominate his performance. Working with his quartet, he offered material he has touched upon frequently in local shows, including a romp through the classic “El Cumbanchero” and a musical duel with his percussionist, Adel Gonzalez Gomes. Valdes’ soloing was filled with fiery technical tricks involving the rapid repetition of phrases and finger-popping sweeps across the keyboard. All well done, all impressively articulate, but mostly lacking the exceptional jazz qualities he has exhibited elsewhere.

For the 8,000-plus listeners in attendance, however, salsa rhythms and flashy pianistics were just fine. They greeted Son Mayor--especially when joined by a lithe, but unidentified dancing couple--with cheers and offered standing ovations for Valdes. One wonders how they would have responded to Latin music with a more balanced portion of jazz.

The Clayton-Hamilton Orchestra, which played a prominent role in the summer’s initial Bowl jazz concerts, took a surprisingly modest role in the proceedings. Offering repeats of some material done in previous programs, the ensemble’s only real spotlight numbers were a tribute to Louis Armstrong (“I’ll Be Glad When You’re Dead, You Rascal, You,’ featuring trumpeter Bobby Rodriguez) and a spirited rendering of Gerald Wilson’s “Viva Tirado.”

Host Poncho Sanchez was also minimally present, making a few announcements, sitting in on congas with Son Mayor and participating in a collective grand finale.